The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

John Luther Adams' Five Yu'pik Dances for solo Harp. Composed in 1991. Duration: 7-8 minutes. 'This set of miniatures is based on traditional dance songs of the Yupik Eskimo people ofWestern Alaska. In their original forms these melodies would be sung in unsion. The first third and fifth songs would be accompanied by frame drums. The second and fourth are game songs for jumping rope andjuggling pebbles. Aside from the obvious difference in instrumentation my settings of these songs differ from the Yup'ik originals in other respects. I have extended and varied the melodies and addedcountermelodies ostinato figurations introductions interludes and codas. The first four melodies are drawn from the collection Yup'ik Eskimo songs compiled by Thomas F. Johnston and Tupou L. Pulu andpublished by the University Of Alaska. The fifth was 'loaned' to me by Yup'ik singer and dancer Chuna McIntyre who learned it in his village of Eek Alaska. The poems preceding each piece are rough translationsof the words to the songs. These verses are often cryptic and enigmatic. Their obscurity is increased because some of the words or their meanings have been lost over time.' - John Luther Adams

Par BAUGHMAN STEVE. This is the first book ever of Yuletide music arranged for solo guitar in various 'open' or 'altered' tunings. In this genre of guitar music, the instrument is re-tuned to create a voicing ideally suited for each particular song. This book contains ten Christmas tunes and covers five open tunings that give voice and life to the music of the Yuletide season. The arrangements include old standards, like Silent Night and Joy to the World, and a sprinkling of more obscure tunes, such as Am Weinachts Baum die Lichte Brennen. All are beautiful, time-tested songs. Includes access to online audio./ Recueil / Guitare Fingerpicking

Une collection d'agitation de 100 chansons rares de l'Holocauste. Rédigé en 16 langues différentes, avec des traductions en anglais pour chacun / Divers / niveau : Intermédiaire / Partition + Cd

RENAISSANCEGreensleeves AnonymLe Rossignol AnonymCome Again John DowlandLesson For Two Lutes AnonymDi, Perra Mora AnonymBAROCKRomanze Christian Gottlieb ScheidlerLament Niel GowWachet auf, ruft uns die Stimme Johann Sebastian BachLargo Antonio VivaldiAllegro Wilhelm Friedemann BachKLASSIKLe nid et la rose Ferdinando CarulliDas klinget so herrlich Wolfgang Amadeus MozartDer Vogelfänger bin ich ja Wolfgang Amadeus MozartSonate A-Dur Domenico CimarosaLes Folies d?Espagne Matteo BevilacquaROMANTIKGran Vals Francisco TárregaBolero José FerrerVon fremden Ländern und Menschen Robert SchumannModerato cantabile Frédéric ChopinTritsch-Tratsch-Polka Johann StraussEl pañuela de pepa Manuel SaumellMULTIKULTURELLEl Coyuyo Héctor AyalaÁgua e vinho Egberto GismontiLa Sanjuanerita François CastetPaçoca (Choro) Celso MachadoCubana Trad., arr. WilliamsTomo y obligo Carlos GardelThe Lass Of Pattie?s Mill Trad.Jocul cu bâta Béla BartókEscorregando Ernesto NazarethLibertango Astor PiazzollaPOPLed Joplin Claude EngelEn avril Thierry TisserandIncomparable You Maria LinnemannRomance David GaudreauApril Love Earl KlughCrazy Little Thing Called Love Freddie MercuryHappy Pharrell WilliamsHavana Camila CabelloThe Birds And The Bees Attila Zoller / Guitare acoustique / Edition Dux

The ultimate Christmas songbook for Piano, Christmas Piano Gefällt Mir! features 50 top hits from the charts and blockbuster movies, in Easy Piano arrangements by the bestselling Hans-Günter Heumann.The songbook features some new pop tunes like I'll Be Home by Meghan Trainor and Mistletoe by Justin Bieber alongside some classic Christmas songs in Wonderful Christmastime, Do They Know It's Christmas and Santa Claus Is Coming To Town. Every song is arranged for Easy Piano, so it includes standard notation, full lyrics, a fingering guide, as well as chord symbols throughout. Heumann's Piano Gefällt Mir! series has proven consistent in helping beginner and intermediate pianists play the greatest songs, and this Christmas book is no exception. Including a fine selection of popular songs as well as traditional hymns and carols, as well as some favourites from a variety of films, the 50 tunes are everything you'll need for some well-loved repertoire during the festive period.Continuing the brilliant Piano Gefällt Mir! series, Hans-Günter Heumann has brought together some of the best Christmas songs for Easy Piano, giving you an essential songbook for the festive time of year. / Piano

John Luther Adams' Five Athabascan Dances for Harp and Percussion. Duration: 16 minutes. 'These pieces are inspired by the music and spirit of the Athabascan people ofAlaska's boreal forest. The first and third dances are based on songs by Joe Beetus a Koyukon elder from the village of Huslia. The second dance is based on a short traditional song of the Dena'ingpeople of the Kenai Peninsula as remembered by the late Peter Kalifornsky and transcribed by the late Thomas F. Johnston. In their original setting these melodies would be sung in unison with no harmony orcounterpoint. Working as a composer in the Western tradition I have extended and transformed them in many ways. I have 'borrowed' and 'set' these melodies with permission and with the hope that my treatment ofthem conveys my profound respect for their origins. The second and third pieces are derived from my setting of poems by Adeline Peter Raboff written in the dialect of her Gwich'in people who inhabit the countryfrom Arctic Village to Old Crow. I offer this music as a gesture of respect to the first peoples of the Northern Interior and the Kenai Peninsula.' - John Luther Adams

Kali-Yuga is a short symbolic piece for choirs representing in a simple almost child-like way the last days of the Kali-Yuga the Dark Age of Hinduism. We live in these days. The ?ugliness? of the modern world is portrayedin the first two sections as the singers from Choir II are given a free rein to represent ?triviality? in the first song and ?ugliness? in the second while the singing chorus in Choir I describes the events in Schuon?s Germanpoetry. The third section represents ?weeping humanity? personified by the two women and two men from the choirs as the rest sing with great dignity and solemnity about the Kali-Yuga.The musical material is tightly knitthroughout and the performance should be as vivid and imaginative as possible.

This collection features piano works by prominent G. Schirmer composers including: Adams Barber Cowell Dello Joio Harbison Kabalevsky Khachaturian Prokofiev Shostakovich Tan Dun and others. Includes previouslyunpublished first editions by John Corigliano and Gabriela Lena Frank. Suitable for advanced high school and college-level pianists.

7'; for tenor recorder and string quartetFirst published in 2004.Written for Tony Gilbert's 70th birthday celebrationFirst performance: John Turner The Barbirolli Room Bridgewater Hall Manchester 16th October2004.Score.

This work for viola chorus and percussion was commissioned by the London Symphony Chorus and was first performed in October 1994 at the Barbican Hall London by Yuri Bashmet and the London Symphony Chorus conducted by StephenWestrop.The remarkable text of the Troparion written by the great Byzantine poetess-nun Cassiana was the inspiration of The Myrrh-Bearer. The text informed the architecture of the music. The viola solo represents MaryMagdalen as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends.In The Myrrh-Bearer the Chorus symbolises ‘us’ the ‘sins of the world’ from‘stylized dictatorships’ to ‘the frivolous inane escapist vanities of the world ’ the to cries of ‘help’ after the cosmic catastrophe and finally reaching an apocalyptic climax in the words ‘We have no king by Caesar;’ adownright condemnation of God in the Earthly power.In a surreal way the Magdalen’s ‘sin’ shines through in the viola music because she recognises the Godhead and the endless ‘Kyrie eleison’ chanted by the semi-chorusrepresents her repentance and whatever is left of a ‘repentant’ world.The Myrrh-Bearer explores the whole range of the viola climbing from the depths up to the highest notes and then falling again at the end after theMagdalen’s recognition of the Risen Christ ‘Rabboni.’The last stroke of the gong in the viola’s final bottom C gives a deliberately ominous end to the piece.This is a special item which is made to order. Please e-mail ourMail Order Department for further information.

A lively and wide-ranging collection of great tunes from all around England, suitable for playing on piano accordion, melodeon and other squeezeboxes!

Included are many well-established favourites for dance bands and informal sessions, plus some lesser-known gems and recent compositions. Reels, jigs, hornpipes and slow airs drawn from the 17th Century to the present day, with chord suggestions, background information on the tunes and detailed guidance on how to get the best out of this vibrant music. / Musiques du monde / Partition CD / Agrafé /

This work for viola chorus and percussion was commissioned by the London Symphony Chorus and was first performed in October 1994 at the Barbican Hall London by Yuri Bashmet and the London Symphony Chorus conducted by StephenWestrop.The remarkable text of the Troparion written by the great Byzantine poetess-nun Cassiana was the inspiration of The Myrrh-Bearer. The text informed the architecture of the music. The viola solo represents MaryMagdalen as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends.In The Myrrh-Bearer the Chorus symbolises ???us??? the ???sins of the world??? from???stylized dictatorships??? to ???the frivolous inane escapist vanities of the world ??? the to cries of ???help??? after the cosmic catastrophe and finally reaching an apocalyptic climax in the words ???We have no king by Caesar;??? adownright condemnation of God in the Earthly power.In a surreal way the Magdalen???s ???sin??? shines through in the viola music because she recognises the Godhead and the endless ???Kyrie eleison??? chanted by the semi-chorusrepresents her repentance and whatever is left of a ???repentant??? world.The Myrrh-Bearer explores the whole range of the viola climbing from the depths up to the highest notes and then falling again at the end after theMagdalen???s recognition of the Risen Christ ???Rabboni.???The last stroke of the gong in the viola???s final bottom C gives a deliberately ominous end to the piece.This is a special item which is made to order. Please e-mail ourMail Order Department for further information.